Carmen e a concepção trágica de Nietzsche: o amor retraduzido em natureza

Abstract

The aim of the current dissertation consists on a reading of Georges Bizet s Carmen, with the perspective of the Nietzsche s tragic. We priviledged the concept mentioned on his maturity peices, starting with Thus spoke Zaratustra, when the tragic vision is contextualized in the art s physiology, the philosophy is made with the body, the text of the reality is read by the optics of the will of power and the amor fati [love of fate] is the highest love conception. After the presentation of these concepts, it was necessary to investigate the context of friendship from Nietzsche and Richard Wagner so we can understand not only personal affinities but their mutual project of german art renewal through the rescue of the tragic spirit that implicated in the union between philosophy and musical art. Wagner's commitment with the ascetics ideals, his conversion to the christian dogma, the Parsifal composition and the non accomplishment of the reformation ideals of art after the opening of Bayreuth Theatre, all that dissappointed Nietzsche, leading him to a definitive rupture with this friendship on 1876. His maturity s writings are severe critical to the wagnerianism, and it was in this period that the philosopher discovered Carmen, praising it in letters and also in The Case of Wagner, an 1888 s pamphlet, one of his last writings, which comprises several criticisms against the German composer. They praise exalt the position of the life s affirmation and fatalism in Bizet s composition, which puts it in opposition to the wagnerian s romantic music. Such adjetivacion motivated us to research the possibility of Carmen be considered a legitimate tragic expression in the Europe at the end of nineteen century.